


Chiaroscuro

by InvisibleSpork



Category: White Collar
Genre: Character Study, Gen, White Collar brings out my inner art nerd
Language: English
Status: Completed
Published: 2013-01-14
Updated: 2013-01-14
Packaged: 2017-11-25 13:03:39
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 553
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/639191
Author URL: https://archiveofourown.org/users/InvisibleSpork/pseuds/InvisibleSpork
Summary: <blockquote class="userstuff">
              <p>Peter reflects on the contrast of light and dark in Neal's character.</p>
            </blockquote>





	Chiaroscuro

**Author's Note:**

> Written for a stray comment (which I have now lost) over on collarkink back in 2010.

Peter listened to Neal through the wire as he skillfully lied his way out of another potentially dangerous situation. Often times he and his team got so distracted by the bright, brilliant exterior that they forgot how easily he blended in with the dark, seamy underbelly.

Neal was a perfect study of chiaroscuro. A contradicting blend of light and dark. On the surface was a brilliant young man, attractive and charming, dancing his way through life. But underneath lay a man still tempted by a life of crime and a woman who was no good for him, a conman who could manipulate emotions without regret.

Even his appearance highlighted the contrast. Pale skin and light eyes played off his dark hair and black suit. Neal laughed, and Peter could just see him as he flirted with a random woman, bright smile not quite reaching eyes that silently compared this woman to Kate and found her wanting.

Peter has tried to lead Neal away from that darkness in himself, but he's not sure that's the right thing to do anymore. That duality is what allows Neal to survive situations like this. A longing for idealism, but a willingness to do what needs to be done. It's a dangerous combination, but Peter has learned to trust Neal enough that he can appreciate its beauty as well. Not that he'd ever tell that to Neal. The kid had a big enough ego as it was.

Peter wonders why it is so few people can look past the frame and see the whole picture. When asked, Neal would only respond that people only see what you show them. It's not a matter of being able to see through the charade, it's a matter of caring enough to look past it. Peter doesn't understand why you wouldn't. Comparing Neal's mask to the actual man is like comparing Kinkade to Caravaggio. It's pretty and idyllic, but it's not real.

Peter has always liked puzzles. Perhaps that's why he's so drawn to Neal. He's like a recycled canvas. Look closely enough and you can still see the previous tableau peeking through the drying paint. And maybe that's why Neal has been so drawn to Peter. Peter was the one who bothered to look behind the façade. He satisfied that basic human need to be known.

And maybe that's why Neal had sent him the presents and the postcards. Maybe it wasn't to taunt him; maybe it was just to feel closer to him. Of course, that's what got him caught in the end. Play with fire and eventually you get burned, Peter thought ruefully, though now he was the one playing with that fire.

When Neal climbed into the back of the van, Peter just rolled his eyes and scowled at him. Neal just beamed back at him, knowing that his dark looks were always a cover for the smile he would never give the ex-con. It seems even the two of them were an example of chiaroscuro.

In case you're wondering, here's a sample of Kinkade and Caravaggio so you know what I was thinking about when I wrote that bit.

http :// www . thomaskinkade . com / magi / servlet / com . asucon . ebiz . catalog . web . tk . CatalogServlet ? catalogAction = Product&productId = 180&menuNdx = 0.2  
http :// en . wikipedia . org / wiki / File:Caravaggio_denial . jpg


End file.
